Cet essai propose une critique du discours militariste pour qui « la guerre, c’est la paix ». Dans ce plaidoyer à la fois viscéral et documenté contre la guerre, l’auteur brosse un portrait des lignes de force qui se dessinent de la Guerre froide à la Guerre au terrorisme, des manifestations de Seattle à celles du mouvement pour la paix. …
The most enduring number from this opera was the duet of Maria and her sister Ines, which became a popular concert piece in the 19th century. Maria is the mistress of Pedro the Cruel of Castile. Her father, Ruiz, discovers the identity of her lover and, burdened by shame, loses his reason. Donizetti rises to this dramatic challenge, writing a poignant mad scene – this time for a tenor voice. This was a very successful opera for Donizetti, written in 1841.
Alun Francis is one of the most respected conductors on the international scene, and is particularly admired for his efforts in bringing international recognition to several great tonal symphonists active in the post-World War II years, and for other efforts on behalf of 20th century music. His "native" instrument is the French horn. He continued his studies on that instrument and took conducting while attending the Royal Manchester College of Music from 1960 to 1963.
Claude D'Anna's film of Verdi's Macbeth is a gloomy affair, stressing the descent into madness of the principal villains. It's acted by the singers of the Decca recording of the opera (with two substitutions of actors standing in for singers) and the lip-synching is generally unobtrusive. The musical performance is superb, conducted by Riccardo Chailly with admirable fire, and sung by some of the leading lights of the opera stages of the 1980s.